The fifth volume in
Chandos’s survey of the works of Frank
Bridge is mainly composed of charming
miniatures performed with great refinement
and enchantment by Hickox’s Welsh orchestra.
Some have been recorded
before. The Two Entr’actes, for instance,
but never so beautifully articulated
as here: the haunting Rosemary
so touchingly phrased but never cloying
and the bell-like tones of Canzonetta
with its more chaotic commedia dell’arte
middle section equally appealing. Bridge’s
version of Sir Roger de Coverley,
with its exuberant rhythmic variations,
and the appearance of ‘Auld Lang Syne’,
has been recorded too and here it has
all the merriment of a Christmas celebration.
Two other well known Old English Songs:
‘Sally in Our Alley’ and ‘Cherry Ripe’,
are fondly arranged for string orchestra,
the former with sophisticated and delicate
harmonies, the latter in bustling, skittish,
contrapuntal complexity; a little sparkler.
Less well known is
the student work, completed in Eastbourne
in 1902, the Valse Intermezzo à
cordes, Bridge’s elegant tribute
to the waltz nodding towards both the
French and Russian schools and performed
in style with lilt and grace. Todessehnsucht
is Bridge’s affecting, dignified setting
of Bach’s Komm, süsser Tod
(Come, sweet death) beautifully read
by Hickox and, for me, worth the cost
of this CD alone. Another miniature
I particularly warm to, is Two Intermezzi
from Threads. The first, an Andante,
begins in sighs and continues in plaintive
wistful sweetness with just an occasional
brass protestation. In comparison, the
second is marked ‘Tempo di Valse – Animato’
- and animated and theatrical it is
too, mixing farce and romance with Eric
Coates looking in from the wings.
Baritone, Roderick
Williams joins the BBC National Orchestra
of Wales in three of Bridge’s songs
that are performed here for the first
time for almost a century. The Hag
is a rumbustious setting of Robert Herrick’s
poem about a witch on a devilish night
ride. Bridge loses no opportunity in
letting loose ghouls and spooks from
his magic orchestral paint box and Williams
adds a persuasive chill to the proceedings.
Mournful regret inflects voice and orchestra
in ‘I Praise the Tender Flower’, the
first of Two Songs of Robert Bridges;
the second, the more animated ‘Thou
didst delight my eyes’ has gently mocking
dotted rhythms and punctuations that
comment ironically on the lover’s rather
theatrical complaints of love spurned.
The Suite for Strings,
at just over 21 minutes, and cast in
four movements, is the most substantial
work in the programme. Quoting Paul
Hindmarsh, it "possesses all those
ingredients that (his student) Benjamin
Britten so admired in early Bridge:
Gallic grace, technical sophistication,
a style grateful to listen to and to
play." It was composed over Christmas
1909 Here, in every movement, is grace,
melody and sophistication of melting
beauty: the chirpy Intermezzo enchants,
the deeper Nocturne haunts.
A concert that enchants
from beginning to end. Strongly recommended.
Ian Lace
Roderick Williams (baritone) * 